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The Wheel of Martial Dechamps
Now it is the turn of the MUSEUM MMK to exhibit the influential work of Marcel Duchamp starting on Thursday, March 31 and, later, the best excuse to celebrate in a small committee at the Mehlwassersalz restaurant
Susanne Pfeffer, director of the museum at 10 Domstraße in Frankfurt am Main, is responsible for organizing a show at the Museum MMK für Moderne Kunst. She previously went to the Museo Jumex where the exhibition Appearance Nude was presented: desire and object in the work by Marcel Duchamp and Jeff Koonsstill, and now On the other side of the Atlantic, the work of the most important artist of the 20th century is reviewed once more and, without a doubt, the most influential in contemporary art, just before the Venice Biennale begins in April.
One of the most controversial artists of the 20th century, Duchamp will be a trend topic once more (but one of the relevant ones), since thanks to the generosity of top-level private collectors and works that come from the op cit collections will all once once more be the object of study and admiration.
Obviously included is the iconic piece “Nu aux bas noirs” 1910 (116 X 89 cm) which was shown at Paul Kasmin’s gallery in New York, and earlier in Paris at the Musée Georges Pompidou, during the 2014 Duchamp exhibition “La painting même”, It has the splendid provenance of the William Copley collection. This one shines with other of the most important private and public collections of the “international world world”. In addition to the lenders preview and the official opening with a petit committee dinner, we will have to take advantage of the weekend visit to the wonderful German city.
Without Duchamp, his genius and his art would not currently exist art proposals in the twentieth and twenty-first century. Point. For years, he has occupied a very low profile, since only true connoisseurs and experts -insiders- know his work. The expo is a unique and probably unrepeatable opportunity in the near future to see, appreciate and reassess his famous ‘ready mades’ and create a counterpoint with his work on canvas.
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Obviously, it will also be the perfect occasion for an updated review by specialists, collectors, auction houses and the art market in general. In the spring the opportunity to appreciate works such as Fountain (1917), the famous urinal signed R. Mutt, to Bicycle Wheel (1913/64 “Ex Arturo”), the first “sculpture” by Duchamp, and others can be recognized by a new audience, younger, surely.
The new audience for Duchamp will be those who have not yet made the pilgrimage to his museum in Philadelphia, where the most important collection of the artist’s work is located. De allí, fast foward a Frankfurt. It will be possible to evaluate and appreciate the giant steps that Duchamp took to establish the existence of multiple artistic movements in the 20th century with his maxim: “it is the choice, not the execution or elaboration” the genetic material of art (“choice is the crucial factor in a work of art”). In such a subversive and avant garde way, the work of Duchamp will not shock more than 100 years later as he did in The Armory Show, but it will be the beginning of a new discovery.
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